Palace Ladies and Gentlewomen
Traditionally, games like Go were seen as the domain of men, and historical records rarely mention female players—except a few who served emperors or defeated renowned opponents. Yet women playing Go were far from rare. Poetry and painting often depict court ladies, gentry women, and female entertainers playing Go, either to please men or for personal enjoyment. Focusing on three versions of Spring Morning in the Han Palace, this section highlights refined images of women engaging in the "Four Scholarly Arts." Though their skill levels remain unknown, these quiet games suggest thoughtful minds and a broad inner world.
Ladies Fishing by a Lotus Pavilion Attributed to Zhou Wenju, Southern Tang Dynasty Hanging scroll- 195.1x98
- Gu Hua 001777
Formerly attributed to 10th-century painter Zhou Wenju, this work dates to the 17th century based on style. It depicts elite women enjoying a refined summer by a lotus pond—fanning themselves, fishing, and playing Go. Rich in detail, the painting carefully renders architecture, clothing, and objects. The Go scene reflects accurate gameplay, including captured stones placed on bowl lids—a custom still seen today. These vivid details offer rare visual insights into historical Go practices and highlight the active role of women in traditional Go culture.
After"Spring Morning in the Han Palace" Ding Guanpeng, Qing Dynasty Handscroll- 34.5x675.4
- Gu Hua 001047
This painting was painted by court artist Ding Guanpeng (ca. 1708–1771) at the command of the Qianlong Emperor (r. 1735–1796). It is a colored copy of a baimiao (line-drawing) version of Qiu Ying's (ca.1494–1552) original painting, now in the Liaoning Provincial Museum. While retaining Qiu's composition, Ding added subtle colors and Qing-Dynasty style architecture and furnishings, reflecting the Emperor's taste for blending antiquity with contemporary flair. Near the scroll's end, court ladies play "Double Sixes" (shuanglu, an ancient game resembling backgammon and often translated as "Chinese backgammon") in a lakeside pavilion. Though once popular, this game declined under Qing anti-gambling laws—making this scene a rare visual record of vanishing play.
Spring Morning in the Han Palace is a classic theme in Ming and Qing paintings of palace ladies, depicting the refined and diverse daily life of women in the imperial court. The most renowned version is by Qiu Ying (ca. 1494-1552), admired for its elegant composition and fine brushwork. During the Qing dynasty (1644-1912), Emperor Qianlong (r. 1736-1795) commissioned court artists to reinterpret the theme, incorporating grand architecture, elaborate furnishings, and colorful scenes. Compared to Qiu's focus on female activities, Qing versions emphasize palace splendor and ceremony. This exhibition features three scrolls across Galleries 202, 208, and 212—can you spot the differences in their compositions and detail?
Spring Morning in the Han Palace Qiu Ying, Ming Dynasty Handscroll- 30.6x574.1
- Gu Hua 001038
- Certified National Treasure
Spring Morning in the Han Palace is a representative work of figure painting by Qiu Ying (ca. 1494-1552), a classic masterpiece frequently copied by Ming and Qing artists and the finest among the Museum's holdings of similar themes. Qiu Ying, one of the "Four Masters of the Ming," was known for a style that blended the refined elegance of literati taste with the meticulous technique of the painting academy at court. This painting depicts the women of the imperial harem enjoying a spring morning in the secluded courtyards of the inner palace. Their pastimes range from flower appreciation, grass-fighting games, dance, and music, to personal grooming, embroidery, child-rearing, and refined literati pursuits such as playing the zither, playing Go, reading books, painting, and antique connoisseurship—capturing a vibrant portrait of daily palace life. The composition draws inspiration from earlier traditions such as Court Ladies Preparing Newly Woven Silk, Palace Scenes, and Night Revels , and echoes the lyrical descriptions of palace life found in poetry about the Tang dynasty (618-907) palace. Compared with later Qing court versions that emphasize lavish architecture and gardens, this scroll focuses more intimately on the court ladies and their activities. This painting bears Qiu Ying's signature and seal. It was originally owned by Ming dynasty connoisseur Xiang Yuanbian (1525-1590) and includes his catalog number and price annotation, along with Xiang's and the Qing imperial collection seals.
The most famous Spring Morning in the Han Palace is by Qiu Ying (ca. 1494-1552), whose version popularized the theme. During the Qianlong Emperor's reign (1735-1796), court painters were frequently commissioned to reinterpret this subject, incorporating Qing palace architecture, gardens, furnishings, daily activities—and of course, the Four Scholarly Arts: zither, Go, calligraphy, and painting. These elements appear as both settings and objects. Given the immense length of Qing court versions, scenes of the Four Scholarly Arts may appear more than once. Can you spot all the Go boards hidden throughout this lavish depiction of refined palace life?
Bowl with "Children at play" Motif in Underglaze Blue Jiajing Era (1522-1566), Ming Dynasty- Porcelain
- H. 17.6, MD. 39.8
- Zeng Ci 000560
This large blue-and-white Children at Play bowl was made during the Ming Jiajing era (r. 1522-1566) and once belonged to Republic of China's Embassy in Berlin. It was recently gifted to the Museum by the Ministry of Foreign Affairs. 16 lively children are depicted riding horses, making music, and performing puppet shows on the exterior. In the center of the bowl, two children are shown with intense focus in a Go match. In the Ming dynasty (1368-1644), the zither, Go, calligraphy, and painting were core elements of a cultured upbringing. Scenes of children practicing these arts often appeared on porcelain. Ancient sources link Go to moral cultivation and intellectual growth—values embodied in this elegant vessel.
